Embed Size (px)
Citation preview
ROMYSCHNEIDER
SERGEREGGIANI
BERENICEBEJO
JACQUESGAMBLIN
HENRI-GEORGESCLOUZOT’S
LOBSTER FILMS, IN CO-PRODUCTIONWITH FRANCE 2 CINÉMAPRESENTS
A SERGE BROMBERG ANDRUXANDRA MEDREA ANNONIER FILM
DISTRIBUTIONMK2 DIFFUSION
55, RUE TRAVERSIÈRE – 75012 PARISTEL : 00 33 4 92 28 42 90 - FAX : 00 33 1 43 44 20 18
PRESSMONICA DONATI
TEL : 00 33 1 43 07 55 22PORTABLE (CELL): 00 33 6 23 85 06 18
INTERNATIONAL SALESMK2
MATHILDE [email protected]
00 33 6 08 94 88 73
MATTHIEU [email protected]
00 33 6 14 09 93 18
JULIETTE [email protected]
00 33 6 86 43 07 52
DOROTHÉE [email protected]
00 33 6 32 65 76 19
ADDRESS MK2 IN CANNES84, RUE D'ANTIBES - 06 400 CANNES
TEL : 00 33 4 92 28 42 90 - FAX: 00 33 4 93 38 58 37
OFFICIAL SCREENING IN CANNESTUESDAY, THE 19TH OF MAY AT 19:00 - SIXTHIETH ROOM
LOBSTER FILMS, IN CO-PRODUCTION WITH FRANCE 2 CINÉMAPRESENTS
A SERGE BROMBERG ANDRUXANDRA MEDREA ANNONIER FILMBASED ON AN ORIGINAL IDEA BY SERGE BROMBERG
A FILM WRITTEN AND DIRECTED USING RUSHES FROM
HENRI-GEORGES CLOUZOT’S INFERNOORIGINAL SCREENPLAY BY HENRI-GEORGES CLOUZOT, JOSÉ-ANDRÉ LACOUR AND JEAN FERRY
HENRI-GEORGESCLOUZOT’S
PHOTOS AND PRESS NOTES ARE AVAILABLE AT MK2IMAGES.COM
RUNTIME: 94 MINUTESFRANCE, 2009, HD AND 16MM
THEATRICAL RELEASE IN FRANCE SCHEDULED FOR FALL 2009
A LEGENDARY FILM!
In 1964, Henri-Georges Clouzot chose Romy Schneider, age 26, and Serge Reggiani, 42, to bethe stars of INFERNO. It was an enigmatic and original project with an unlimited budget thatwas to be a cinematic “event” upon its release. But after three weeks of shooting, things took aturn for the worse. The project was stopped, and the images, which were said to be “incredible”,would remain unseen.
These images, forgotten for over half a century, were recently found and are more breathtakingthan legend had predicted. They tell us of a unique film about madness and jealousy, filmed inthe first-person, the story of an ill-fated film shoot, and of Henri-Georges Clouzot, who had givenfree reign to his filmmaking genius.
Never has Romy been so beautiful and hypnotic. Never will an auteur be as close and aspassionately linked to a hero he has created.
Our film shows INFERNO as it was shot and tells the story of this magnificent tragedy.
INFERNOBY HENRI-GEORGES CLOUZOT
Inferno is the story of a man, Marcel Prieur, played by Serge Reggiani, the manager of a modesthotel in provincial France who becomes possessed by the demons of jealousy.
The film begins with Marcel standing before Odette’s stretched-out body with a razor blade in hishand, trying to remember how he got to this point. Did Odette, his pretty wife, despicably andscandalously cheat on him? And, with whom?
He tries to remember their life together, and the happy beginning of their relationship: buying thehotel,meetingOdette…But, quickly, thememory grows hazy. Jealousy and visions take greater andgreater control of his mind… and the spectator is soon also gripped with panic and doubt.
There is no proof, only horrible presumptions.
The explanations, the proof of her innocence, the promises: none of it matters. From now on inMarcel’smind, the faraway sound of a train will forever sound like a tortured scream. Hallucinatoryvisions soon gain the upper hand.Madness takes overMarcel’s brain, aswell as the film’s narration...
HENRI-GEORGES CLOUZOT’S INFERNOOr, The Story of Henri Georges Clouzot’s Unfinished Film
There is a mix of mystery, fascination, and tragedy in our story. A man, Henri-Georges Clouzot,a modern-day Icarus, wanted to free himself from the rules of cinematic grammar and thecustomary framework of creativity, pushing limits that no other great filmmaker, or greatartist, had ever dared to push.
THE TRAGEDYThrough a simple story, he tried to get as close as he could to the mystery of madness andparanoia in an attempt to obtain absolute freedom. The growing madness in the script’s maincharacter, Marcel, would parallel the collapse of his creator.For, like Icarus, Henri-Georges Clouzot burnt his wings. One cannot try to reach absolutecreativity without potentially losing one’s identity, and he finally got tangled in the very web hehad woven. History never turns out the way one intends it to. Like an obsessive thought, oncefreed from any and all constraints, it can rebel against its creator.
THE MYSTERYToday, these invisible images have gained legendary status: the greatest film of the early 60s, theone that “had it all”, and that everyone said would shake the very foundations of cinema, wassecretly shot behind closed doors in decadent luxury, leaving nothing but hearsay and rumors inits wake. What happened on the set? What was Clouzot searching for?In 2005, unearthing the 185 film cans gave the opportunity to examine the first-hand accounts ofthose still alive (all of whom have become important figures in cinema today) and try to put thepieces of a puzzle together – pieces whose contours were perhaps unknown even to their creator.
STATEMENTOF INTENTBY SERGE BROMBERG
THE FASCINATIONThese 15 hours of film, like themixedpieces of a puzzle, probably hold the secret of anunprecedentedcreative process.Like creatures that might have crossed the Rubicon and returned to live among us, the rushesare silent, the sound of voices has evaporated, and their precision, their beauty, and their visualfreedom have made them fascinating.We found the technicians and actors who participated in the 1964 shoot. Among them, therewas Costa-Gavras, production assistant during the preparation, Catherine Allégret, for whomthis was her first role,William Lubtchansky, assistant cameraman, at the time, and BernardStora, trainee assistant director. They accepted to speak about this mad adventure, both on ahuman and a professional level.We found other elements that were tied to the film: storyboards, photographs, and soundrecordings which particularly show Marcel’s madness.By putting these testimonials and different elements into perspective, we discover the story ofa film and see these images in a new light.Watching them, following Clouzot through the maze of his inner madness, only to lose ourselvesin a story and in visions which are both stunning and incomprehensible—there lies themystery ofClouzot.Our desire is to revive the story that Clouzot wished to tell and, inasmuch as possible, have thespectator relive it.To do this, Jacques Gamblin and Bérénice Bejo act out several scenes from Clouzot’s originalscreenplay to make the connection with our narration. They respectively play the roles of SergeReggiani and Romy Schneider.The story takes shape and unfolds before our eyes. The images become increasingly hypnotic.There lies the whole mystery. It gives itself up to us and shrinks away at the same time.We see what Clouzot had seen. We are at the heart of artistic creation, which is neither logicalnor explainable.Here, it is only an affair of beauty.Clouzot got it right after all.
Serge Bromberg has been the CEO of Lobster Films since 1984 and hasestablished a collection of vintage cinema with over 40,000 rare titles,thus making Lobster Films a major global player in film restorationtoday. Since 1992, he has presented these films to audiences andaccompanied them on the piano during the unique film-concerts hecalls “Retour de Flamme”. He has also accompanied films on the pianoat the Cannes Film Festival, the Musée d’Orsay, the Louvre, and in theTuileries Garden. As an Executive Producer in television since 1994, hehas produced over 500 news magazines and programs, corporate films
and documentaries.Serge Bromberg has also been the Artistic Director of the International Animation Film Festivalin Annecy since 1999, and member of the Board of Directors of the GAN Foundation for Cinema,the Cinémathèque Française, the French Muscular Dystrophy Association (organizer of theyearly Telethon), and the CEO of Steamboat Films since 2006. He was made a Knight of theFrench Order of Arts and Letters in 2002 and, in 1997, was awarded the Jean Mitry Prize duringthe Pordenone Silent Film Festival in Italy which rewards one person in the world every yearfor his/her work in conserving vintage cinema.
• Histoire du Gag (ARTE, 1997, 52’)• Chaplin Today: City Lights (26’, France 5, MK2 TV, 2002)• Discovering Cinema (2x52’, Histoire, 2003)
SERGEBROMBERG
Ruxandra Medrea, 32 ans, a débuté sa carrière dans le milieucinématographique en tant que juriste, spécialisée dans la propriétéintellectuelle.Née en Roumanie, elle quitte à la fin des années 1980 son pays natalpour s’établir en Autriche, puis en France. Voyageuse dans son cœur,elle poursuit des études universitaires en Europe.L’Enferd’Henri-GeorgesClouzotest sonpremier long-métragedocumentaireen tant que co-réalisatrice de Serge Bromberg.
• « Génération Précaire, derrière les masques» (52’, 2006, LCP)
RUXANDRAMEDREA
"TO MAKEA FILM,FIRSTLY,YOU NEEDA GOOD STORY,SECONDLY,A GOOD STORY,THIRDLY,A GOOD STORY.”
•1931: Fear in the Batignolles• 1933: Tout pour l'amour• 1933: Caprice de princesse• 1942: The Murderer Lives at Number 21• 1943: Le Corbeau (The Raven)• 1947: Quai des orfèvres (also dialogue writer)• 1949: Manon• 1949: Return to Life (segment, “Le Retour de Jean”)• 1950: Le Voyage en Brésil (unfinished)• 1950:Miquette et sa mère• 1953: The Wages of Fear (also dialogue writer and producer)• 1955: Diabolique (also producer)• 1956: The Mystery of Picasso (also producer)• 1957: Les Espions (also producer)• 1960: La Vérité• 1964: Inferno (unfinished)• 1967: Grands chefs d'orchestre• 1968: La Prisonnière
FILMOGRAPHYHENRI-GEORGES CLOUZOT
• 1982:The Passerby by Jacques Rouffio• 1981: Garde à vue by Claude Miller• 1981: Fantasma d'amore by Dino Risi• 1980: TheWoman Banker by Francis Girod• 1980: DeathWatch by Bertrand Tavernier• 1979:Womanlight by Costa-Gavras• 1979: Bloodline by Terence Young• 1978: A Simple Story by Claude Sautet• 1978: AWoman at HerWindow by PierreGranier-Deferre• 1977: Group Portrait With a Lady byAleksandar Petrovic• 1976:Mado by Claude Sautet• 1975: The Old Gun by Robert Enrico• 1975: Innocents with Dirty Hands by ClaudeChabrol• 1974: Love At the Top by Michel Deville• 1974: That Most Important Thing: Love by
Andrzej Zulawski• 1974: Le Trio infernal by Francis Girod• 1974:UnAmour de pluie by Jean-Claude Brialy• 1973: Ludwig by Luchino Visconti• 1973: Le Train by Pierre Granier-Deferre• 1972: César et Rosalie by Claude Sautet• 1972: Bloomfield by Richard Harris• 1971:Max et les Ferrailleurs by Claude Sautet• 1971: The Assassination of Trotsky byJoseph Losey• 1970: Les Choses de la vie by Claude Sautet• 1970:My Lover My Son by John Newland• 1970: La Califfa by Alberto Bevilacqua• 1968: The Swimming Pool by Jacques Deray• 1968: Otley by Dick Clement• 1967: Triple Cross by Terence Young• 1966:What’s New, Pussycat? by Clive Donner• 1966: La Voleuse by Jean Chapot
FILMOGRAPHYROMY SCHNEIDER
• 1966: 10:30 P.M. Summer by Jules Dassin• 1966: La Belle et l'empereur (1966 – 1959 onimdb) by Axel von Ambesser• 1965: Romy, Anatomie Eines Gesichts byHans-Jurgen Syberberg• 1964: Good Neighbor Sam by David Swift• 1963: The Cardinal by Otto Preminger• 1963: The Victors by Carl Foreman• 1962: Boccacio ’70 by Federico Fellini• 1962: The Trial by Orson Welles• 1962: L'Amour à lamer by Guy Gilles• 1961: Fire and Ice by Alain Cavalier• 1960: Angel on Earth by Geza von Radvanyi• 1960: Purple Noon by René Clément• 1959: Katia by Robert Siodmak• 1958: Girls in Uniform by Geza von Radvanyi• 1958: Christine by Pierre Gaspard-Huit• 1958: Eva by Rolf Thiele
• 1958: Scampolo by Alfred Weidenmann• 1957: Sissi: The Fateful Years of anEmpress by Ernst Marischka• 1957:TheGirl and theLegend by Josef VonBaky• 1957: Feuerwerk (1957 – 1954 imdb) by KurtHoffmann• 1957:Monpti by Helmut Kautner• 1956: Sissi: The Young Empress by ErnstMarischka• 1956: Kitty and the Great Big World byAlfred Weidenmann• 1955: Sissi by Ernst Marischka• 1955: Die Deutschmeister by Ernst Marischka• 1955: Der letzte Mann by Harald Braun• 1954: The Story of Vickie by ErnstMarischka• 1953:When the White Lilacs Bloom Againby Hans Deppe
CASTBérénice Bejo > OdetteJacques Gamblin >Marcel
CAST IN 1964Romy Schneider >OdetteSerge Reggiani >MarcelDany Carrel >MarylouJean-Claude Bercq >MartineauMaurice Garrel >Dr. ArnouxMario David > Julien
CREW 1964Catherine Allegret > ActressGilbert Amy >ComposerJean-Louis Ducarme > Sound engineerJacques Douy >Assistant art directorCosta Gavras >Assistant directorWilliam Lubtchansky >Assistant Director ofPhotographyLan Nguyen >Continuity 2nd filmteamJoël Stein > Special effectsBernard Stora > Assistant director - intern
Director : Ruxandra Medrea AnnonierDirector : Serge BrombergComposer : Bruno AlexiuExecutive producer :Marianne LèreDirector of Photography : Irina Lubtchansky,Jérôme KrumenackerCamera operator :Mikael Lubtchansky,Nathalie SavaleStill photographer : Jérôme PréboisSound : CyrilMoisson, JeanBrault, JulienRipertProducton designer : Nicolas FaureEditor : Janice JonesSound editor : Jean GargonneSound mix : Jean-Guy Véran
PRODUCTIONCREDITS
